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Flock Audio Patch LT and Patch XT

By
Bryan
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Flock Audio Patch

Last year Flock Audio introduced a revolutionary new approach to Patch Bays. This app controlled analog patch bay utilizes Flock Audio’s Matrix Technology and Patch App to route signal without patch cables. Now Flock has offered two more models for smaller and even larger applications.

KELOWNA, BC, CANADA: having revolutionized recording studio setups worldwide with its innovative PATCH system’s killer combination of (PATCH APP) software and 64-point connection-providing (PATCH) hardware working together in perfect harmony as the world’s most advanced digitally-controlled, 100%-analog patch bay routing system allowing anyone to easily control analog audio routings without having to resort to the use of manual patch cables, pro audio manufacturer Flock Audio is proud to introduce its (impending) PATCH LT and PATCH XT hardware releases — respectively representing ‘light’ (condensed) and ‘extra’ (expanded) selections anchored around the same award- winning architecture as the original, offering reduced and increased I/O count — at The 2020 NAMM Show, January 16-19, Anaheim, CA, USA…

Revolutionary as it incontrovertibly was when turning heads and opening musical minds with a show-stopping showcase at The 2019 NAMM Show, subsequently being adopted by hundreds of audio engineers worldwide with workflows benefitting from a design that just makes sense, today the original PATCH hardware remains revolutionary, beautifully built but simple and sleek in operation. On the face of it, becoming the hub of any studio setup is at its creative core, thanks to 64-point (32-input/32-output) connections via eight standard 25-pin D-SUB connectors allowing analog routing control courtesy of the accompanying MacOS- and Windows-compatible PATCH APP routing software, so users can create, store, and recall complex routings in seconds as well as create complex multing combinations with no impedance issues and no AD/DA conversion with a 100%-analog signal path using Flock Audio’s patented Matrix Technology. Simply speaking, the USB 2.0-equipped hardware works with the software in perfect harmony. Furthermore, Flock Audio sensibly saw fit to also include 32 independent channels of 48V phantom power — and allows or denies the ability to enable 48V on any input connected to the PATCH system, so accidental damage to any costly microphone investment is thankfully avoidable. Additionally, two front panel-positioned TRS/XLR Combo inputs and two XLR outputs for quick hardware, microphone, or instrument integration into the routing system are always available — and all without having to unplug anything already connected to the rear of the rack-mounted unit itself. Moreover, multiple PATCH expansion is perfectly possible for those needing more connections.

Conversely, perhaps, PATCH’s 64-point connection capability could conceivably be deemed overpriced overkill for those whose studio setups are a little lighter on the analog audio hardware front. Fortunately, Flock Audio always aims to accommodate, as evidenced by the timely introduction of its (impending) PATCH LT hardware at The 2020 NAMM Show. Small but mighty sums up PATCH’s perfectly-formed simple, sleek, and spectacular sibling, with just enough I/O to create a musical masterpiece. This time, however, Flock Audio allows access to the analog routing matrix of anyone’s dreams as a 32- point (16-input/16-output) connections-adorned affair featuring four standard 25-pin D-SUB connectors, 16 independent channels of 48V phantom power, and one front panel-positioned TRS/XLR Combo input and one XLR output. Out of sight, out of mind, the same reliable connections that seriously cemented PATCH’s recording reputation so speedily are also built into PATCH LT. Indeed, it includes the same external five-pin 24V DC power supply with IEC cable and 10-foot USB 2.0 (USB-A to USB-B) cable. Conveniently, it also works with the same PATCH APP routing software — relatively recently upgraded to instantly identify the connected PATCH hardware model, meaning quick creation, storage, and recall of complex routings as well as creating complex multing combinations with no impedance issues and no AD/DA conversion with a 100%-analog signal path using Flock Audio’s patented Matrix Technology remains the same. Should that smaller studio setup grow, then multiple unit expansion with any PATCH model is perfectly possible, so no need (necessarily) to trade up!

Ultimately, of course, more serious studio setups more often than not have more serious patch bay routing requirements. Really representing everything that is great about PATCH… expanded, PATCH XT packs 192-point (96-input/96-output) connections via 24 standard 25-pin D-SUB connectors into a 3U eye-catching casing that means business but also acts as a reminder that analog routing need not be be the ugly part of audio production! Put it this way: with 96 independent channels of 48V phantom power, lockable USB 2.0 connector with included 10-foot USB 2.0 (USB-A to USB-B) cable, more room to house an internal power supply with included IEC cable, cooling-without-compromise redesigned airflow, and (optional) CAT5 Ethernet host control for bridging longer distances between the hardware unit itself and the PATCH APP routing software host, PATCH XT is extra extraordinary! And as if this is not enough to keep the most serious studio owner seriously satisfied with Flock Audio’s ultimate development of the world’s most advanced digitally- controlled, 100%-analog patch bay routing system allowing anyone to easily control analog audio routings without having to resort to the use of manual patch cables, multiple unit expansion with any PATCH model is also available.

As company founder and Flock Audio CEO Darren Nakonechny notes: “We believe every audio engineer, whether developing their craft in the basement or award-winning professional studio, deserves superior recording tools.” Thanks to the timely introduction of PATCH LT and PATCH XT at The 2020 NAMM Show — uniting over 115,000 registrants from 130 countries and regions at the global crossroads of music, sound, and entertainment technology, the trailblazing Canadian pro audio manufacturer has taken two selective steps towards making that happen for even more audio engineers worldwide with workflows benefitting from ‘light’ (condensed) and ‘extra’ (expanded) designs that make more sense than ever!

PATCH LT is scheduled to ship in Summer 2020 with an MSRP (Manufacturer’s Suggested Retail Price) of $1,499.00 USD — pricing subject to change without notice — through Flock Audio’s growing global network of authorized dealers (https://www.flockaudio.com/dealers) or online directly from Flock Audio itself (https://www.flockaudio.com/buynow).
For more in-depth information, please visit the dedicated PATCH LT webpage here: https://www.flockaudio.com/patchlt
PATCH XT is scheduled to ship in Winter 2020 with an MSRP of $9,999.00 USD — pricing subject to change without notice — through Flock Audio’s growing global network of authorized dealers (https://www.flockaudio.com/dealers)
or online directly from Flock Audio itself (https://www.flockaudio.com/buynow).
For more in-depth information, please visit the dedicated PATCH XT webpage here: https://www.flockaudio.com/patchxt

Warm Audio Bus Comp

By
Bryan
-
Warm Audio Bus Comp

Our friends over at Warm Audio have dropped a bombshell just in time for NAMM. The BUS-COMP takes the sting out of the price of a classic SSL bus compressor without taking the vibe. On top of that, it ships TOMORROW.

STEREO BUS COMPRESSOR

The Warm Audio BUS-COMP is an all-analog, 2 channel, stereo VCA compressor based on classic circuitry that has provided silky smooth tone for decades.  Stereo VCA compressors are masterful at controlling dynamics on many sources, but they have become widely known for their magic touch on stereo mixes.

The BUS-COMP will perform well on stereo mixes, drum mixes, drum overheads, acoustic guitars, keyboards, piano, orchestral instruments, voice-overs and an array of other sources.  The BUS-COMP is primarily designed for stereo use, but it can be used just as successfully on individual mono sources. VCA compressors of this type have become widely loved for their ability to control dynamics effortlessly but also for the added tone and depth they provide to the audio signal that passes through them, even when no compression is applied.

A LOOK INSIDE

Re-creating legendary VCA compressor technology was the focus of the BUS-COMP’s design, however, adding options and improvements was just as important to us during its development.  One feature we are proud to boast is the BUS-COMP’s ability to have USA made CineMag transformers inserted into the signal path driven by fully discrete operational amplifiers. With a single push of a front panel switch, these custom USA made transformers are inserted into the audio’s path providing increased depth, tone and vibe!

As with all of the products we develop here at Warm Audio, the BUS-COMP was designed with a price point in mind.  With efficient, modern manufacturing techniques we are proud to bring this boutique quality, classic VCA compressor to the market at a quality-to-price ratio previously unseen.  More studios than ever before will now have access to analog quality VCA compression. Our desire is for all musicians to be heard the way they want to be heard and we feel the BUS-COMP is the perfect tool to perfect any mix!

SPECIFICATIONS

• All analog, 2 channel, stereo VCA compressor
• Based on legendary VCA compressor technology
• Selectable discrete opamp stage with CineMag USA transformers
• External side chain source select
• Selectable Hi-pass Filter: 30, 60, 105, 125, 185 Hz
• Compressor engage switch for easy A/B compress vs. no-compress comparison
• Performs well on stereo mixes, drum mixes, drum overheads, acoustic guitars, keyboards, piano, orchestral instruments, voice-overs and endless other sources
• Can be used on stereo as well as individual mono sources
• THAT 2180 VCA’s
• Optimally provides both XLR and TRS connectivity
• Noise: < -90dBu
• Headroom: > +29dBu, 20Hz – 20kHz
• Dynamic Range: > 120dB
• Frequency Response: 18Hz – 22kHz
• THD + Noise, 20Hz – 20kHz, +20dBu input: < .05%
• Input Impedance: 10k Ohms
• Output Impedance: 50 Ohms

 

BUS-COMP
MAP = $699 USD | 749 € INC VAT

For more information visit our link here.

PREAMPS: A NEOPHYTE’S GUIDE

By
B. Church
-
B Church Everything Recording

Today, I’d like to introduce our newest contributor to Everything Recording. I was browsing  the Reddit r/AudioEngineering sub and saw an incredible post by B. Church. He posted a very concise writeup on something we all get a little too caught up in – Preamps. While this website deals in announcing the latest and greatest new piece of gear, sometimes we all need to recenter our perspective. I reached out to B. Church and asked if I could share the post and he kindly obliged. Enjoy.

BEGINNINGS

If you’ve come into recording within the past five years, especially as a hobbyist, you may have never had the opportunity to record in a larger recording facility. You may have never even recorded anywhere other than your home studio. And, if you’re reading this, your techniques and opinions may have been somewhat formed by online resources. Which is great.

Some people might look down on that. I don’t. I cut my baby teeth with a freaking 4-track cassette recorder I borrowed from a friend in 1989. There was no YouTube, no Reddit, no online community to learn from really. Admittedly I am a little jealous – there is a LOT of information out there. Of course, some of that information is opinion, and some of those opinions aren’t well researched. 

OPINIONS, QUESTIONS, ANSWERS

Put another way, your buddy “TrapDatAzz98” on Reddit may claim mastering entirely with UberSmasherizerVST and Beats headphones is just as good as using an actual mastering studio? An actual mastering engineer might point out just how ill-informed that is. TrapDatAzz98 is wrong, of course, but both are just merely that: opinions. And the font is the same size. 

With that said. I want to say something about preamps. Ironically, yes, this too is an opinion… my opinion. But it’s informed by my three decades of not only sessioning on every preamp under the sun, but maintaining them and building a few as well. There are so many threads in internet-land about preamps. “What preamp is good for snare?” “What preamp did Steve Albini use on the PJ Harvey record?” “Is the preamp on my $120 interface good for vocals?” They’re all legitimate questions – it’s just unfortunate we can’t say the same for the answers. 

If you’re just recently coming into the place where you’re going to start adding one of these magic, all-singing, all-dancing circuits to your arsenal – let’s just get this out of the way:

IT’S NOT AS BIG AS YOU THINK

That’s not to say there’s no difference, or that a John Hardy won’t outclass a Mackie. Just that it’s not so much a “night and day” difference as it is a “dawn and dusk” one.

Yes, there are nuances to one design versus the other. Yes, certain types do lend themselves to certain styles. And yes, lots of professionals have strong opinions on why they cut on this one versus that one. But your recordings will not live or die by this decision – even if your decision is to just stick to the ones on your interface or mixer.

There’s a prevailing wisdom that could lead you to think that certain preamps have a mythical, transformative quality. That everything that passes through their copper-wired halls suddenly, magically, transforms lead into gold. It would be great if it were true  – but sadly it is not.

Will an upgrade help? Yes, having a wider signal-to-noise ratio, or a better response curve is never a bad thing – but that is more felt with recordings that use the same preamp dozens of times over (be it tracking a lot of instruments or using the line amplifiers with a multi-input mixdown). But recording a few vocal tracks and printing an internal 2-track mix yields results that are considerably less obvious. 

And lest we forget, a lot of this magic is purely psychosomatic.

 Gear Acquisition Syndrome is very pervasive. John Fogerty quipped in Dave Grohl’s “Sound City” documentary that “everything sounds better through a Neve”. Whether it’s a spanking new box, or a shopworn bakelite-and-powder-coat “vintage” circuit in your studio, your heart so wants this to be a dramatic shift that it can trick your ears into making it so. 

I’ve spoken with aspiring engineers who, again, describe the results of the VintageCo 5808 or the NowSound 8k as if the preamp’s applying a large amount of equalization, compression or harmonic sweetening. Preamps all have the same stated intent, but the differences are in how they go about getting there. API, with their 2520 discrete op-amps are “the sound of rock and roll”. The much-adored Neve 1073 (which is a pretty darn simple design) employs a 1:2 transformer that helps brings out very pleasing harmonics. 

Alternately, designs like those found in the Focusrite Red preamp or the SSL 9000 console lean towards a “wire with gain” philosophy. They’re designed to reproduce the absolute widest dynamic range and flattest frequency response possible – letting the engineer non-destructively rub whatever coloration or dirt he/she wants in production (such as, say, an API or Neve channel strip plugin). And while what you hear right out of the box could be described as “clinical” or “overly clean”, remember that this is the intent. You can make the recording sound like my buddy’s old 4-track later… not so much the other way around. 

SO WHAT’S WRONG WITH MINE?

The salesman at GuitarHell, the company’s website and the internet-at-large all told you that the ones on your interface are “studio grade”. Are they? Well, if it has an XLR connection and takes 120v power, I suppose that’s “studio grade” enough to satisfy most people. Keep in mind “studio grade” is just the sort of marketing drivel people get paid WAY more than audio engineers to come up with every day. 

But are they… you know… good? Not to answer a question with a question, but what defines “good”? Does what comes out of the speakers sound like what went into the mic? Does it sound “amazing”? “Lifelike”? “Transparent”? “Warm”, “cushy”, “fat”, “vintage”, “modern” or any other nebulous audio buzzword? That’s where it gets vague, and where your ears and your personal taste matter far more.

The ones on your interface would be described by most professionals as “serviceable”. Some of them are pretty great (Apogee’s Ensemble comes to mind), most are okay and a few are just crap and are only on there because the competition has them. 

So if you’re still left wondering if scratching the insatiable itch of gearlust with this latest box of wires, lights and knobs will yield better results…

 Yes, it can, especially (again) if you’re layering up stacks of vocals or instruments. The point I’m driving at is that they’re not as magical as the internet might have you believe. I’d hate for you to drop $3000 on a Neve Portico, plug it in and be left suddenly saying, “wait, where’s the magic? This just sounds like the microphone input on my Shenjing HappyBuddy USB”! 

Given the choice between a better mic and a better preamp? Get the microphone – your preamp is only as good as what you feed it. Choosing between a better preamp and better monitors? Get the monitors. You can’t appreciate the difference of the quality preamp without being able to hear it. But as a part of this complete, nutritious breakfast? Yes, having a good preamp or two will help. Just don’t expect any miracles – the awesomeness has to come out of you first.

McDSP Moo X Mixer

By
Bryan
-
McDSP Moo X Mixer

This is a very interesting release from McDSP. Utilizing their APB (Analog Processing Box) they’re developed a plugin mixing console that is fully automative. This gives a veritable mixer, complete with Saturation, EQ, and Compression.

The Moo X Mixer plug-in is the world’s first fully automated hybrid mixing console under total software control. Session recall is instant, and all mixer controls can be automated or saved as a preset. Features include equalization, analog compression and saturation, and a master section with auxiliary input and stereo analog compression and saturation.

The Moo X Mixer is available only with the purchase of an APB-16 Analog Processing Box.

The McDSP Analog Processing Box (APB) combines the flexibility of software with the fidelity of premium analog processing. Each channel can be controlled by an APB plug-in giving true digital workflow with genuine analog performance. Processing options include not only the Moo-X Mixer, but several other unique plug-ins.

The Moo-X Mixer plug-in showcases the programmability of the APB-16 hardware and how it can be integrated into a hybrid mixing solution providing optimal workflow.

More information is available at www.mcdsp.com.

Presonus Quantum 2626 Thunderbolt Interface

By
Bryan
-
Presonus 2626

It’s really nice to see more availability of Thunderbolt 3 interfaces. This one comes with eight channels of Presonus XMAX Preamps too.

The newest model in PreSonus®’ Quantum series of audio interfaces, the Quantum 2626 uses the blazing fast Thunderbolt 3 bus to achieve a barely measurable roundtrip latency (as low as <1 ms), enabling you to record and monitor with up to 24-bit, 192 kHz fidelity through your favorite plug-ins, without leaving your DAW. High-quality converters on every analog input and output provide 115 dB of dynamic range to capture complex musical harmonics smoothly and naturally with no audible distortion.

The Quantum 2626 provides up to 26 inputs and 26 outputs, with 8 of PreSonus’ lauded XMAX Class A analog microphone preamps, 2 instrument inputs to directly connect basses and guitars, and 6 balanced line level inputs for your favorite synths all on front-mounted combo jacks. The first two inputs are equipped with direct outputs and dedicated returns to patch in your favorite outboard gear. An additional 18 inputs and outputs are available via ADAT/dual SMUX and S/PDIF.

You also get eight ¼” TRS outputs that are DC coupled for sending control voltages, plus two balanced Main outputs, two high-volume headphone outs with dedicated volume controls, and MIDI I/O. BNC word clock I/O ensures the Quantum 2626 and other digital audio devices operate in tight sync. The interface is well protected by a 1U rack-mountable, rugged, all-metal chassis with metal knobs.

With the included Studio One® Artist DAW, the Quantum 2626 is a complete recording solution. The interface also is compatible with any recording software that supports Core Audio (macOS) or ASIO (Windows). Free PreSonus UC Surface control software for Mac® and Windows® provides access to full metering, including metering for connected PreSonus DP88 8-channel A/DA preamp/converters, as well as UC Surface’s integrated Real-Time Analyzer (RTA).

The Quantum 2626 is available now at PreSonus dealers at a U.S. street price of $599.95. For more information visit www.presonus.com/products/Quantum-2626.

XLN Updates XO to Version 1.1

By
Bryan
-
XLN Audio XO 1.1

We previously reviewed XLN’s XO (review here) and really liked it. We did, however, have several suggestions for improvement that have been addressed in 1.1. Along with the fixes, XLN has added more presets and even expanded the XO line with XO Lite and XO. Below is a list of new features.

From November 19th, the features listed below will become added to XO. They are free. You get access to them by updating XO, from Nov 19th and onwards by using the XLN Audio online installer.

New features in the update
Export stems as WAV

Quickly drag & drop your beat as separated stems. Straight into your DAW or OS as WAV_ Separate stems give you full control over every part of your beat, even after exporting.

Playlists

Create, browse and organize beat-presets in Playlists. Collect your presets in genre-, or project-specific playlists, for an even faster and more optimized workflow.

100 new factory beat-presets added.

You’ll find them collected in the “New in XO 1.1” playlist. XO now comes with a total of over 200 preset beats that you can edit further.

Online disk monitor

The Online Disk Monitor notifies you of any changes in the sample folders you’ve added to XO, instantly re-scans, and updates smoothly with the click of a button.

New file-formats

You can now add .flac, .mp3, .ogg, and .wma files to XO.

XO 1.1 goes live on November 19th, don’t forget to update through the XLN Audio online installer!

For more information, visit, https://www.xlnaudio.com/products/xo

 

IK Multimedia iRig Stream

By
Bryan
-
irig stream

Online content is HUGE business. When creating your latest unboxing video, how to, or live stream, you don’t want anything in your way. Let IK Multimedia do the heavy lifting with the iRig Stream interface.

IK Multimedia announces the availability of iRig Stream. This mobile-friendly audio tool is part of IK’s Creator Series for video content creators, YouTubers, live streamers, musicians, DJs, podcasters and other social media broadcasters looking to capture high quality audio directly using a mobile device.

Ideal for content creators and musicians, iRig Stream is a mobile audio interface that combines multiple audio sources down to one track for recording or streaming in mono or stereo with the user’s mobile device and their favorite app.

Two line-level RCAs offer quick connection to mixers, keyboards and outboard gear, and the included Lightning, USB-C and USB-A cables can connect to the latest smartphones, tablets and laptops.

An innovative headphone/microphone jack offers both direct monitoring and an easy way to add a voice-over to a stream. Compatible with most earbud/mic combos as well as IK’s analog iRig accessories, it offers a comprehensive solution in an ultra-compact unit.

An intuitive set of gain indicators and gain control make it easy to set the appropriate level, and 24-bit, 48 kHz A/D converters ensure superior sound. A Stereo/Mono switch ensures compatibility with the widest range of apps, including mono-only apps like Instagram, and a loopback feature lets users playback music on their device at the same time they stream.

Five-time Latin GRAMMY-nominated producer, composer and percussionist Tony Succar has relied heavily on tools in the iRig range to grow his social media following. In the video here, he gives a glimpse into the way the new iRig Stream can now help artists and social media creators stream their videos and performances more easily.

 

Pricing and availability
iRig Stream is available for $/€99.99*

For more information, visit our affiliate link here

Review: BABY Audio I Heart NY

By
Bryan
-
BABY Audio I Heart NY

I Heart NY Rundown:
4.5 / 5 Reviewer
BUY: $29.00
Pros
- Quick and Easy Parallel Compression
- Easy to Use Interface
- Great Compression Algorithm
Cons
- Needs a Bypass Button for Level Matching
Summary
Parallel Processing is a must in these days but sometimes it can be time-consuming. You need a plugin that takes on the workload fast and simple. I Heart NY is your answer. This plugin is just as easy as it is great sounding. For the price of $29.00, you can't go wrong.
Rating

Newcomer to the game, BABY Audio has released two plugins in a short time. Both feature sleek interfaces and minimal knobs, but how do they fare once we peel back the glossy layer? We take a look at Baby Audio’s first release in this review.

 

The Company

Baby Audio is a relatively new player in the plugin game. This New York-based company was founded by two individuals who wanted to make powerful tools so simple; a baby can use them. Thus, the origin behind the name – Baby Audio. The guys in New York dream up the concepts and coding is done by a team back in The Netherlands. The collaboration is a “best of both world situation,” given that some incredible gear is developed by our neighbors across the Atlantic. I like to see teamwork like this.

 

The Simplicity

In keeping with this theme, Baby Audio’s plugins feature straightforward controls, and no presets. While you may be concerned about not having presets, the reasoning behind this decision is simple. First, the company encourages inspiration and exploration. Second, the controls are few enough; you don’t need help.

 

The plugins come in all standard flavors of VST, AU, and AAX, with updates for the life of the product. They also come with the authorization baked into the install, which gives you one less serial number to copy-paste. Install and get right to work. Now that we’re all installed and loaded let’s get into each of these two plugins.

 

The Name

Admittedly, my initial reaction to the plugin’s name “I Heart NY” was lackluster. The title feels very, well, like something a teenage girl would name software. While I’m pretty sure the plugin’s name is a little tongue-in-cheek, don’t write it off as juvenile. New York-style compression was the forefather to the more boringly-named “Parallel Compression” and is a valuable tool for any engineer worth their salt.

 

The Functionality

Instead of having to set up a parallel bus to smash then blend your signal in with the source audio, I Heart NY does all of the work for you. I like the approach on the interface with its guitar stomp pedal appearance. I’m not sure why I feel this way, but a plugin that looks like a stomp pedal seems less intimidating, especially to newcomers. I honestly wish the plugin had a bypass button at the lower part of the GUI that resembled the on / off switch of a pedal for level matching. It would add to the aesthetics and functionality.

 

What it does feature is a SPANK Knob, Signal Blend Slider, and OUTPUT Knob. If you want to hear what the plugin is blending in with your source audio or use the compression at 100%, just hit the SOLO button under the parallel slider. Simple huh? The plugin creates a duplicate audio track behind the scenes and compresses separately, compensating for any phase or latency related issues.

 

The Operation

I started by soloing the compression and dialing in the SPANK to get the best impact on the track. From there, I un-solo and blend to taste. As you turn the SPANK Knob up, the meter just to the left will show how heavy-handed the compression is acting, and you can monitor the output level via the meter on the right. A good starting point is to have gain reduction peaking just shy of the first red indicator of the meter on the left. After that, subtle adjustments to the source audio may be needed.

 

The Opinion

In very few words, it sounds great. Once level matched with the bypassed audio (which needs that shiny stomp button for bypassing!), audio has more impact and density. Anything that requires more pop will benefit from I Heart NY. I especially liked the plugin on the drum bus with its added layer of impact on transients. This plugin does its job quickly and effectively. While I don’t exactly know what’s going on under the hood, I suspect as you turn the SPANK knob, the compression is changing threshold, ratio, attack, and release settings. In lighter doses, compression seems denser with a faster attack. When cranked, I feel the attack is slower with a quicker release. With its attractive interface and versatile compression, I Heart NY is a no brainer, especially given the price.

 

For the producer in a time crunch, a musician who wants to create music, and everything in between, I Heart NY is an essential plugin.

To buy, visit https://babyaud.io/i-heart-ny-parallel-compression-plugin

Presonus Eris BT Bluetooth Speakers

By
Bryan
-
Presonus Eris BT

Don’t immediately write off the fact that these speakers are bluetooth. They’re analog as well and even come with a headphone amplifier.

A great choice for music lovers, content creators, and gamers, the new PreSonus® Eris® E3.5 BT and Eris E4.5 BT active media reference monitors deliver the same studio-quality sound and accurate frequency response professional Eris-series studio monitors are known for, in an elegant, compact form ideal for home use. Featuring both Bluetooth® and analog connectivity, onboard EQ controls, and a headphone amplifier, Eris BT-series monitors make it easy to cater your listening experience for your personal taste.

Just like professional Eris-series studio monitors, Eris BT-series media reference monitors utilize a woven composite low-frequency driver that provides tight bass you can feel, as well as a cleaner overall sound. Both models feature a one-inch silk-dome tweeter that produces a smooth and refined sound, accurately reproducing transients and high frequencies. The tweeter is designed to radiate sound with a fairly wide pattern, creating a large optimal listening area or “sweet spot” so you can move around the room and still hear an accurate stereo image.

With 25 watts per side of onboard power, the Eris BT-series monitor speakers pack a serious punch, while still delivering clear, accurate audio with a convenient front-panel volume control. An onboard EQ lets you adjust the high- and low-frequency content to taste, so your Eris BT speakers will always sound their best.

Eris BT-series monitors accept audio from almost any source, thanks to four different types of audio inputs. Fast, reliable, stereo Bluetooth 5.0 connectivity lets you wirelessly stream sound from a smartphone, tablet, laptop, or other Bluetooth source. When you want a wired connection—say, from a computer, turntable, TV, or other line-level source—Eris BT-series monitors have you covered with rear-panel, left and right ¼-inch TRS and RCA inputs and front-panel 1/8” stereo input. A loud, clear, front-panel headphone amplifier lets you work and play in stealth mode, without disturbing your housemates.

Eris BT-series active media reference monitors are available in both 3.5- and 4.5-inch woofer sizes and are now at your favorite PreSonus dealers at U.S. street prices of Eris E3.5 BT $129.95/pair and Eris E4.5 BT $229.95/pair.

Sterling S400 and S450 Headphones

By
Bryan
-
Sterling Audio Headphones

You shouldn’t have to sacrifice comfort, sound quality, and durability when looking for that next set of headphones. Sterling is here to save the day.

Designed for the discriminating professional recording engineer and studio recordist who needs an uncompromising set of headphones, Sterling’s new S400 and S450 studio headphones combine excellent audio quality for critical monitoring with outstanding comfort for extended use. Both models feature Sterling’s high-definition transducers, which provide an advanced soundstage for superior sound reproduction with intimate, mid-range clarity and articulate low- and high-frequency response.
The S400 and S450 employ a closed-back, circumaural design that delivers the superior isolation required for professional recording, as well as the comfort needed for long sessions. Both models provide removable, replaceable, and lockable ear cushions. Transportation and storage are easy and convenient, thanks to a foldable design with a collapsible earcup mechanism. The detachable 8-foot headphone cable has a twist lock 1/8-inch connector and ¼-inch adapter.

The Sterling S400’s 40 mm drivers use neodymium magnets and oxygen-free copper voice coils to deliver impressive output, up to 101 dB SPL, over an extended 15 Hz to 24 kHz frequency range, even when using low-power, portable amp devices. They can handle up to 60 mW of input power. The S450 uses 45 mm drivers with neodymium magnets and copper-clad aluminum-wire voice coils to further extend the frequency response to 15 Hz to 28 kHz, with superb low-end clarity, making them suitable for the most demanding reference monitoring. The S450 can deliver up to 103 dB SPL and handle up to 100 mW of input power.

Both models offer rotatable ear cups for custom adjustment and convenient single-ear monitoring. The S400 ear cups can rotate up to 90°, while the S450 ear cups can rotate up to 180°.

Sterling S400 and S450 headphones are available now for $69.99 and $99.99, respectively, at Guitar Center and at Musician’s Friend. For more information, visit www.sterlingaudio.net/sterling-headphones.
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